#seanbaker

Sean Baker’s New Film 'Anora' Celebrates Sex Workers

In the funny and wild movie Anora, a sex worker marries the son of a Russian rich man. When Sean Baker won the Palme d’Or award at Cannes for Anora, he dedicated it to "all sex workers, past, present, and future." This was a perfect tribute from a director known for featuring transgender sex workers in his film Tangerine and casting Simon Rex as a former porn star in Red Rocket.

The film Tangerine, which debuted at the 2015 Sundance Festival, caused quite a stir amongst the audience and critics when it was revealed that the micro-budget drama-comedy was shot entirely on three iPhone 5s. The writer and director of the film, Sean Baker, spent eight months in the “unofficial red-light district” in Hollywood, getting to know the people and the area when he came across an aspiring black trans actor named Mya Taylor, who plays Alexandra, the more subdued one of the pair. It is then through Taylor that Baker met Kiki Rodriguez, a fellow trans actor, who Baker ended up casting as the volatile yet lovable Sin-Dee Reel. As it happens, Taylor and Rodriguez are very close friends with the trans women who work the area. Before signing on, however, Rodriguez made one stipulation: she said that Baker, in order to make this movie with her, had to promise to depict the harsh reality of what goes on in the streets. She went on to say that these trans women are out there because they have to be and that Baker should make the film hilarious and entertaining for both them and the women who are actually working the corner.

The film Tangerine, released at Sundance in 2015, depicts a day in the life of two trans women of color living in Hollywood. It is Christmas Eve, and Sin-Dee Reel is back on the block after a 28-day stint in jail. Upon hearing that her boyfriend/pimp hadn’t been faithful while she was away, the working girl and her best friend, Alexandra, a black trans woman, embark on a mission to get to the bottom of the scandalous rumor. Their journey leads them through the underbelly of various subcultures in L.A., such as trans street culture, and includes side stories such as an Armenian family dealing with their own repercussions of infidelity.

The initial release of the film elicited some cagey first impressions, such as the decision to not even mention the fact that the two protagonists of the film are trans women, and the decision to release a movie poster of a shadowy photo of the women that completely obfuscate their identities as trans women of color. That being said, I believe the film is refreshingly brash and brave in the way that it portrays its two fiery heroines as fiercely individualistic trans women trying to survive the gritty streets of L.A. by any means necessary. And at the time it was released, in 2015, featuring actual trans women as both the film’s principal characters, as well as integral writers, was an unfortunate anomaly.

There was a whirlwind of commentary surrounding the fact that Tangerine was shot entirely on iPhones. But the fact that a low-budget film about two transgender sex workers managed to reach mainstream cinemas, even back in 2015, is just as relevantly important. The film was released in the midst of an upsurge in transgender media programming that was occurring at that time, in which some expressed concern that is often rightly underpinned with disquiet about how trans lives are being represented and for what purpose. This includes debates about whether storylines are “voyeuristic, sensationalistic, overly focused on celebrity trans lives, or pathologizing (Malone, 2020).” Given that many transgender people remain marginalized, face mental health stresses, discrimination in access to healthcare, and secure housing and employment implore that populist representations create realistic and non-shaming portrayals of trans lives.

Despite some criticism surrounding the pitting of trans women of color into a trope of sex work, I consider the film Tangerine to be an accurate, nuanced, and strangely beautiful story of the real lived experiences of transgender folks. And it is a film, that when I watched it in 2015, elicited strong feelings in me and made me question my own sense of identity. I argue that the film Tangerine, with its inclusion of two trans women of color as both integral writers of the film, and as its two protagonists, coupled with the subversive filmmaking allowed by only using iPhones, represents a turning point in mainstream media representations of transness and intersectional marginalization. The social realism of the film, driven by the use of the iPhone to evoke elements of visual presentation, serves to challenge dominant narratives of cisnormativity. In this review, I plan to discuss how the film centers its trans characters, not as the stereotypical “villains, tricksters, or sinners, but as complex women who live difficult, though sometimes humorous, lives (Ridley, 2019, p. 482).” In addition, I plan to argue that the use of iPhones as the film’s only cameras is a subversive, yet aesthetic, technical choice that brings trans identities colorfully and vibrantly to the surface of the visual text. Furthermore, I discuss how filming Tangerine with the iPhone produces a real, yet celebratory, depiction of transness, and serves to disrupt the expected visual syntaxes of gender attribution (Koch-Rein, et al., 2020).

For this analysis, I will discuss different scenes from Tangerine to highlight how the film’s technical and visual choices depart from the norm and disrupts the transparency of most films, blurs the lines between perception and what is real, and emphasizes the non-natural, constructed nature of both film and gender identity. Additionally, the non-adherence to visual norms subverts ingrained perceptions of gender, as the use of the iPhone complements the content of the film to challenge cisnormativity while also presenting transness with dignity.

The first scene in Tangerine I would like to discuss takes place early on in the film. Just prior to this scene, Sin-Dee encounters a drug dealer named Nash (Ian Edwards), whom she asks where she might find her boyfriend Chester (James Ransone) and the mysterious new woman he has taken up with. During this scene, Nash intentionally misgenders both Sin-Dee and Alexandra. When Alexandra leaves, Nash suggests Sin-Dee should “just go with your homeboy and get the fuck out of here” (14:05), then later says to Sin-Dee “Alright, come on man,” as she picks up his pack of cigarettes and takes one (14:56). This scene and its misgendering foreshadow the scene that is to come. Following this encounter, the iPhone shows Sin-Dee sitting at a bus stop bench in the low, midday December sun. At this juncture, the audience knows that Sin-Dee’s goal of finding her boyfriend Chester has been hampered as she spent the last of her money on bus fare and a donut to split with Alexandra. Rather than present the story as a reduction down to Sin-Dee’s transness by focusing on her body or her transition, it rather presents a conflict almost anyone can identify with—tracking someone down—while still paying homage to her transness by depicting issues and struggles specific to trans people: the daily experience of being misgendered coupled with the poverty many trans people of color face (Fischer, 2018). (Scene follows next paragraph)

In the scene mentioned above, Baker uses the iPhone, and close-ups of Sin-Dee’s facial expressions invite the audience to consider her thoughts rather than focusing on her body, as she is only shown from the neck up in this sequence. Instead, we witness the anxiety strewn across her face as she considers her next moves. The iPhone moves behind Sin-Dee so we can only see the top of her head above the bus bench as a bus enters the shot from the left (16:01). A large print ad is plastered to the side of the bus, half of which is obscured by the bench. Everything in the scene is in clear focus, from Sin-Dee’s head to the print ad, to each passenger disembarking from the bus. While we cannot see Sin-Dee’s face, we are able to see the face from the eyes up on the bus ad staring directly into the camera. Audiences would most likely conclude that the face is that of a man, however, in the ad is a slender hand with shiny purple painted nails wrapping around the forehead of the face. This sequence serves to challenge the “passing” model of gender attribution (Koch-Rein, et al., 2020).   (The entire sequence is below)

Due to the extensive depth of field that comes with an iPhone camera, viewers must absorb all elements of the scene equally. As the shot demonstrates and depicts: Sin-Dee, whose gender identity is under inquiry; the passengers getting off the bus, who will make a judgment about Sin-Dee’s gender; and the bus ad, an image that shows viewers they cannot depend on their visual perceptions to make judgments about gender (Koch-Rein, et al., 2020).  

The other scene in Tangerine I wish to discuss employs the intersection between the film’s distinctive visual presentation elements and its content to subvert cisnormativity. This scene occurs towards the end of the film, after Alexandra, an aspiring singer, finishes a set at a dingy, sparsely-populated club. The iPhone captures a “tight shot” of Sin-Dee and Dinah, the cis woman with whom Sin-Dee’s boyfriend Chester had been sleeping, as they are in a small bathroom sharing a bowl of meth. Rather than the harsh, white fluorescence that is to be expected, the bathroom is instead lit up in a beautiful visual array of magenta, with perpetually cascading points of pale blue light, akin to what one would see from the light refraction of a disco ball. As Sin-Dee and Dinah stand facing each other, while Sin-Dee smokes drugs, ambient music overtakes the scene. After the iPhone swivels back and forth a few times, alternately focusing on Sin-Dee and Dinah as if sizing them up, the camera finally allows both women to appear equally in the scene (54:00). Pink hues in the scene intensify, and the diamond-pointed bits of pale blue light continue to circulate while moving across the bodies of these women throughout the scene. Up until this point in the film, Sin-Dee had been abusing Dinah as she dragged her around town. But now, Sin-Dee mouths to Dinah to “come here,” pulling Dinah closer to her as Sin-Dee proceeds to apply under Dinah’s eyes and forehead with gentle strokes. Sin-Dee appears calm and gives an apprehensive Dinah a conciliatory smile, as she eventually calms down and accepts the gesture. At this juncture, Sin-Dee is teaching Dinah how to apply lipstick, first using herself as a model before prompting Dinah to follow suit. The scene ends with both of the women looking into the bathroom mirror after a brief makeup lesson, as Sin-Dee nods to confirm the completion of a successful conciliatory gesture.

Like other scenes, this scene also serves to destabilize popular notions of gender attribution (Koch-Rein, et al., 2020). This scene, in which a trans woman and a cis woman occupy the same bathroom—a cornerstone of socio-political discourses around who has “rights” to certain space—seems to move back and forth between their expected roles. This subverts cisnormative expectations by first posing the women as enemies, as this moment of reconciliation is an unexpected turn in the story supported by the visual elements (Malone, 2020). As some viewers may assume that Dinah, a cisgender woman, is capable of achieving gender norms such as applying makeup, it may come as unanticipated that Sin-Dee, a trans woman, is teaching Dinah how to evoke femininity through presentation.

While there was some discussion about problematic representation surrounding the release of Tangerine in 2015, I believe that most of that criticism is far outweighed by the benefits of including trans actors as cultural interpreters in their own films. However, as Mia Fischer writes, “Sourcing practices also reveal that journalists continue to rely on non-transgender “experts” as proxies, rather than letting trans people tell their own stories, which often individualizes struggles and failures but does not address the systemic nature of intersecting oppressions (Fischer, 2018, p. 97).” While the subversive use of the iPhone to film Tangerine, coupled with the inclusion of two trans actors as protagonists, is a positive development, I do believe the social-realist style of the film and its portrayal of the struggles facing trans women of color do so at the expense of addressing larger socio-political issues. While the inclusion of Mya Taylor as Alexandra, and Kiki Rodriguez as Sin-Dee, the trans actors are able to wrest control of the narrative and challenge cisnormativity, there is no mention whatsoever of the white capitalist patriarchy American system that keeps these people relegated to perpetual marginalization. Moving forward, I will like to see films that encompass both representational elements.

As I mentioned earlier in this review, I saw Tangerine soon after it was released in 2015. I myself identify as a transgender female and am currently in the initial stages of my transition. Though I have long known I was “different” in some way, and have long known of the incongruity between my biological sex and my gender, I didn’t quite have the language to describe those very difficult feelings when I was younger. The time and the way in which I grew up played a substantial role in the formation of my ideas about sex and gender. I grew up with a healthy appetite for movies and television, and the lack of censorship of what I watched on behalf of my parents meant I was exposed, at a very young age, to a wide array of what is considered “adult” media. I do recall watching movies and TV shows in the 1990s that portrayed transgender people as perverts, sexual deviants, sex workers, drug addicts, and depraved villains. At that age, I already knew something was “up” with me, but both the media representations of trans people and the comparatively harsh and discriminatory rhetoric at the time made me feel incredibly insecure and like I had to protect my secret at all costs. As a coping mechanism, I developed a shield of sorts; overt displays of masculinity, aggression, drug addiction, covering my body in tattoos.

However, as I got into my early 20s, I was living in Los Angles, over a thousand miles away from my family and the small Colorado town I grew up in. For the first time in my life, I was completely anonymous and free to explore my identity without fear of being found out. L.A., and particularly West Hollywood, has a large LGBTQ population. I began to make some friends and the community and started presenting as female almost full-time for a period of 18 months or so. It was a time of great liberation, confusion, hope, and internalized self-hatred. Though I presented as female, I nonetheless felt dysphoric on a daily basis. I was in the midst of a bad heroin and meth addiction and was exposed to some very seedy, depraved aspects of the criminal underbelly that so many trans people encounter. And that is a big part of why I fled California in 2012 to move back to Colorado, where I settled in Denver. That move signified a sort of regression into the safety of my old behaviors until about 2015, when I happened to see Tangerine. By this time, I had gotten off of drugs and was slowly becoming more accepting of who I am. But when I saw the film for the first time, it brought up some very troubling memories of my time living in and around the area depicted in the film.

That realization helped me to process some of my past, and I eventually arrived where I am at today. I believe that is for a couple of reasons. First, the simple fact of getting older and maturing helped me in not caring what others thought of me so much. Also, I believe the continued visibility of trans identities in both our media and culture, while it has created some backlash, is a positive development overall in helping challenge hetero- and cis-normativity, and has helped me personally in that I can now see myself in trans characters in films and on TV. I believe we need to continue to make progress by increasingly including trans actors, writers, directors, etc. as integral to the process of reclaiming control of the narrative.

References

 Cavalcante, A. (2017). Breaking into transgender life: Transgender audiences' experiences with “First of its kind” visibility in popular media. Communication, Culture & Critique, 10(3), 538-555. https://doi.org/10.1111/cccr.12165.

 Fischer M. (2018) Queer and Feminist Approaches to Transgender Media Studies. In: Harp D., Loke J., Bachmann I. (eds) Feminist Approaches to Media Theory and Research. Comparative Feminist Studies. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-90838-0_7.

 Koch-Rein, A., Haschemi Yekani, E., & Verlinden, J. J. (2020). Representing trans: Visibility and its discontents. European Journal of English Studies, 24(1), 1-12. https://doi.org/10.1080/13825577.2020.1730040.

Kheite FW21

Dir: Sean Baker Dop: Sean Price Williams

Only a few years into my tenure as a film blogger, and I’ve been tasked with a monumental undertaking : ranking the top films of the last decade.  Reflecting year by year is a journey in its own right, and with things like recency bias to take into account, plus the dice roll of blessing and curse that perspective and time bring to older films, I knew that this would be memorable at best, and stressful at worst.

That being said, I don’t claim to have seen every movie, so I know that there are some ‘glaring’ omissions.  I am always open to recommendations for films I should watch (for the purpose of blogging on them or otherwise), but DOOMonFILM has always been about my personal experience as a film fan, first and foremost.  Discussion is welcome, and constructive criticism will always be considered, but this is one man’s opinion.

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THOUGHTS ON THE DECADE

The 2010s, despite moments of controversy in terms of diversity, turned out to be surprisingly forward-thinking in hindsight.  On more than one occasion in the decade, the film of the year (in terms of awards or in terms of critical/public reception), as well as highlight films of each year, were made by foreign directors.  Women and minorities also managed to be recognized in front of and behind the camera at what seemed like a higher rate.  Newer technologies were embraced, such as pushes forward in new cameras or directors opting to shoot on devices as small as iPhones, leaps forward in special effects, and a multitude of movies given the iMax treatment.  A handful of directors happened to put out multiple movies throughout the decade, and a few of those in that handful managed to make multiple award-winning and widely accepted films.  Marvel left such an impact on Hollywood, and the worldwide movie industry, that DC was forced to try and follow suit, and mergers with Sony and Disney were top tier news for months on end.  Actors like Scarlett Johanson, Ryan Gosling, Emma Stone and Leonardo DiCaprio, among others, solidified themselves as box-office legends, while actors on both sides of their career (first-timers and those in the twilight of their career) found success throughout the decade.  All in all, it was a decade that continued to make me happy to be a movie fan, and as hard as it was to do, I managed to find 100 films throughout the decade to rank. 

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100. It Comes at Night (dir. Trey Edward Shults, 2017) 99. Kick-Ass (dir. Matthew Vaughn, 2010) 98. The Peanuts Movie (dir. Steve Martino, Andy Beall and Frank Molieri, 2015) 97. Everybody Wants Some!! (dir. Richard Linklater, 2016)  96. Upstream Color (dir. Shane Carruth, 2013) 95. Avengers : Age of Ultron (dir. Joss Whedon, 2015) 94. John Dies at the End (dir. Don Coscarelli, 2013) 93. Doctor Strange (dir. Scott Derrickson, 2016) 92. Keanu (dir. Peter Atencio, 2016) 91. Free Fire (dir. Ben Wheatley, 2017) 90. Upgrade (dir. Leigh Whannell, 2018) 89. Chappie (dir. Neill Blomkamp, 2015) 88. American Ultra (dir. Nima Nourizadeh, 2015) 87. I, Tonya (dir. Craig Gillespie, 2017) 86. Boyhood (dir. Richard Linklater, 2014) 85. The Grand Budapest Hotel (dir. Wes Anderson, 2014) 84. La La Land (dir. Damien Chazelle, 2016) 83. Ex Machina (dir. Alex Garland, 2015) 82. Nightcrawler (dir. Dan Gilroy, 2014) 81. Sicario (dir. Denis Villeneuve, 2015) 80. Looper (dir. Rian Johnson, 2012) 79. The Killer Inside Me (dir. Michal Winterbottom, 2010) 78. Hell or High Water (dir. David Mackenzie, 2016) 77. End of Watch (dir. David Ayer, 2012) 76. Django Unchained (dir. Quentin Tarantino, 2012) 75. Thoroughbreds (dir. Cory Finley, 2018) 74. Chronicle (dir. Josh Trank, 2012) 73. Melancholia (dir. Lars von Trier, 2011) 72. Black Mirror : Bandersnatch (dir. David Slade, 2018) 71. Detroit (dir. Kathryn Bigelow, 2017) 70. BlacKkKlansman (dir. Spike Lee, 2018) 69. Black Panther (dir. Ryan Coogler, 2018) 68. I Am Not Your Negro (dir. Raoul Peck, 2017) 67. Straight Outta Compton (dir. F. Gary Gray, 2015) 66. Kubo and the Two Strings (dir. Travis Knight, 2016) 65. It Follows (dir. David Robert Mitchell, 2014) 64. Logan Lucky (dir. Steven Soderbergh, 2017) 63. Get Out (dir. Jordan Peele, 2017) 62. Booksmart (dir. Olivia Wilde, 2019) 61. Beats, Rhymes & Life : The Travels of A Tribe Called Quest (dir. Michael Rapaport, 2011) 60. Lady Bird (dir. Greta Gerwig, 2017) 59. Moonrise Kingdom (dir. Wes Anderson, 2012) 58. The Cabin in the Woods (dir. Drew Goddard, 2012) 57. Black Swan (dir. Darren Aronofsky, 2010) 56. Captain America : The Winter Soldier (dir. Joe Russo, 2014) 55. If Beale Street Could Talk (dir. Barry Jenkins, 2018) 54. Avengers : Infinity War (dir. Anthony Russo, 2018) 53. True Grit (dir. Ethan and Joel Cohen, 2010) 52. Three Billboards Outside Ebbing, Missouri (dir. Martin McDonagh, 2017) 51. Whiplash (dir. Damien Chazelle, 2014) 50. Midsommar (dir. Ari Aster, 2019) 49. Journey to the West : Conquering the Demons (dir. Stephen Chow and Derek Kwok, 2013) 48. Sorry To Bother You (dir. Boots Riley, 2018) 47. Mid90s (dir. Jonah Hill, 2018) 46. Logan (dir. James Mangold, 2017) 45. The Killing of a Sacred Deer (dir. Yorgos Lanthimos, 2017) 44. Phantom Thread (dir. Paul Thomas Anderson, 2017) 43. The Hateful Eight (dir. Quentin Tarantino, 2015) 42. Exit Through the Gift Shop (dir. Banksy, 2010) 41. The Irishman (dir. Martin Scorsese, 2019) 40. Suspiria (dir. Luca Guadagnino, 2018) 39. The VVitch (dir. Robert Eggers, 2016) 38. Dogtooth (dir. Yorgos Lanthimos, 2010) 37. The Lighthouse (dir. Robert Eggers, 2019) 36. Annihilation (dir. Alex Garland, 2018) 35. Drive (dir. Nicolas Winding Refn, 2011) 34. Beyond the Black Rainbow (dir. Panos Cosmatos, 2012) 33. The Favourite (dir. Yorgos Lanthimos, 2018) 32. Searching (dir. Aneesh Chaganty, 2018) 31. Tangerine (dir. Sean Baker, 2015) 30. Snowpiercer (dir. Bong Joon-ho, 2014) 29. Under the Skin (dir. Jonathan Glazer, 2013) 28. Dunkirk (dir. Christopher Nolan, 2017) 27. Blade Runner 2049 (dir. Denis Villeneuve, 2017) 26. Baby Driver (dir. Edgar Wright, 2017) 25. Joker (dir. Todd Phillips, 2019) 24. The Neon Demon (dir. Nicolas Winding Refn, 2016) 23. Spider-Man : Into the Spider-Verse (dir. Peter Ramsey, Bob Persichetti and Rodney Rothman, 2018) 22. The Shape of Water (dir. Guillermo del Toro, 2017) 21. The Social Network (dir. David Fincher, 2010) 20. Frances Ha (dir. Noah Baumbach, 2013) 19. Under the Silver Lake (dir. David Robert Mitchell, 2019) 18. Mad Max : Fury Road (dir. George Miller, 2015) 17. Good Time (dir. Josh and Benny Safdie, 2017) 16. Mandy (dir. Panos Cosmatos, 2018) 15. Once Upon a Time in Hollywood (dir. Quentin Tarantino, 2019) 14. Her (dir. Spike Jonze, 2013) 13. The Lobster (dir. Yorgos Lanthimos, 2015) 12. Inherent Vice (dir. Paul Thomas Anderson, 2014) 11. The Master (dir. Paul Thomas Anderson, 2012)

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10. The Last Black Man in San Francisco (dir. Joe Talbot, 2019)

I saw this film as the decade was winding to a close, but it made easily one of the starkest impressions on me of any film-going experience I can recall.  The movie looks amazing, the score and soundtrack are powerful, the acting is rich and dynamic, San Francisco is as beautiful on film as it is in real life, and the thoughts that arise from the narrative presented are the kind that hang around and result in personal changes that matter.  A shining achievement from a stellar year of film.

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9. Inception (dir. Christopher Nolan, 2010)

If Christopher Nolan wasn’t already considered top tier prior to Inception, any doubters were left floored at the close of this masterpiece.  For a story that could have easily been way too convoluted for standard audiences, the visuals, direction and pacing guide us through the madness perfectly.  For anyone interested in dream depictions on cinema, for fans of stellar action, and for the smart people who know the quality that comes with the Nolan name, this one was a no-brainer.

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8. mother! (dir. Darren Aronofsky, 2017)

After being a bit on the nose with Noah, in terms of a film on religion, most directors would take that as a sign to move on from the topic.  For a director like Darren Aronofsky, however, the next step was to seemingly go back to your mind-scrambling roots, dig deeper symbolically, narratively and metaphorically, and come back to the table with one of the most divisive and controversial films of the decade.  mother! will clearly be a film ripe for analysis for years to come, and for as subjective and deep an experience as the film is, this reflection is welcome, as it serves to enrich future viewing experiences.

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7. Uncut Gems (dir. Josh and Benny Safdie, 2019)

How long does a film have to be out to be considered one of the best of the decade?  In the case of Uncut Gems, I will allow recency bias, as it is clearly evident at the beginning of the closing credits that the film is special and will resonate for years to come.  The Safdie brothers already had a classic under their belt with Good Time, and throwing that Sandler magic into the mix only amplifies their heightened and immersive style.

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6. The Florida Project (dir. Sean Baker, 2017)

There are a small fraternity of directors that put out their first films and follow-up films in the 2010s, and while examples of possible award snubs can be found for these directors, there was one clear-cut case of oversight : the 2017 lack of recognition for Sean Baker’s immaculate, beautiful and moving The Florida Project.  While Tangerine was certainly the loudest of warning shots a first time director could provide, the amount of growth, nuance and confidence found in this follow-up deserved multiple awards, not just an acting nod for Willem Dafoe.  Perhaps Baker’s next film will bring him the recognition he deserves in terms of awards, but he’s already made a clear cut name for himself.

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5. Hereditary (dir. Ari Aster, 2018)

I rediscovered a love for horror films in the 2010s, and a key reason would be the emergence of director Ari Aster.  Upon seeing trailers for Hereditary, I knew that it would probably scare the life out of me, but the taste of the story given was so gripping I had to see it.  The fact that the trailer was so powerful, only for the movie to unfold in ways that I never would have imagined or discerned from the trailer, was one of the most rewarding film experiences of the decade.  Toni Collette also gave a performance for the ages.

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4. You Were Never Really Here (dir. Lynne Ramsay, 2018)

It’s arguable that Joaquin Phoenix may have had the strongest decade of any actor, and for my money’s worth, he was at his best in You Were Never Really Here.  Much of the angst presented was previously explored in The Master, and as great as Joker is, it’s essentially the DCEU version of You Were Never Really Here, tonally and in terms of specific elements.  Nobody short of the Safdie brothers are making movies that look, sound and feel like this one, and the unfortunate practice of human trafficking hitting the news forefront makes this film as timely as it is sad.

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3. Scott Pilgrim vs. the World (dir. Edgar Wright, 2010)

Hands down the coolest film of the decade.  Not since Who Framed Roger Rabbit? had so many elements that I loved from other properties managed to find their way into the same movie, and the way that the gumbo was prepared and served was pitch perfect.  As my friend Erin stated after we viewed the film, ‘If you watch this movie and don’t like it, I don’t think we can be friends’.  Some of my favorite sequences of any film are in Scott Pilgrim vs. the World, and this is the EXACT kind of film I look forward to one day sharing with my children. 

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2. Parasite (dir. Bong Joon-ho, 2019)

Another recent film that made an instant impact.  In terms of topics like honesty, entitlement, and family dynamics, nothing I can think of in recent memory is touching Parasite.  The parallels between the two families presented are perfect both visually and in the performances, and with each new bit of information presented, much of what you were previously presented is immediately recontextualized and put into question.  This film, from front to back, is one of the most gripping journeys a filmgoer can take. 

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1. Birdman or (The Unexpected Virtue of Ignorance) (dir. Alejandro González Iñárritu, 2014)

Por Valentina Barata (04/05/2018)

    Cinema comercial é um comum termo utilizado para descrever os filmes que servem para o entretenimento. Era complicada a compreensão desse conceito e o que o separava de filmes indies, ou obras que carregam como missão: A revelação da realidade (e que por um não acaso são independentes). Ao assistir “The Florida Project” e “American Honey” percebi uma semelhança entre os assuntos abordados e as situações vividas pelas protagonistas. Então, entendi o porquê do muitos revirarem seus olhos quando o cinema é usado apenas como distração. Afinal, ele é uma das plataformas que melhor conduz o público para o que acontece na vida de muitos. Nesses filmes, podemos ver situações não comuns do cinema convencional, principalmente o fato das protagonistas serem mulheres jovens marginalizadas, esquecidas pelo capitalismo exacerbado. Podemos ver uma América do Norte nada glamorosa e romantizada. Misfits não por opção estética ou de estado de espírito, e sim porque a sociedade não as permite participar (e alguns nem estão conscientes da existência dessas).

The Florida Project (Sean Baker, 2017):

   Halley (Bria Vinaite) é a jovem mãe de Moonee (Brooklynn Prince). As duas moram em um motel; Magic Castle Inn,de baixo custo nas margens da cidade de Orlando, que ironicamente é conhecida por possuir o lugar mais feliz do mundo: O complexo Walt Disney World. O filme mostra a saga da pequena que faz dos arredores um mundo de aventuras. Carregada de pureza, ela não compreende a decadência do que ocorre ao seu entorno. Sua devoção por Halley faz com que qualquer lugar seja o mais feliz do mundo.

  Como mencionado anteriormente, o filme é conduzido pelo olhar inocente de Moonee. Em cenas como a da banheira (local que sua mãe a mantém, porque o quarto está sendo utilizado como ambiente de prostituição, portanto ela esconde a filha ali) ou em que um pedófilo está no parquinho observando as crianças, e o zelador Bobby (Willem Dafoe) o espanta. E Moonee fica olhando, mas não entende a razão. Como espectadores e adultos é como um instinto protetor a vontade de querer salva-la de seu olhar inocente.

 É notável que o hotel não seja o melhor meio para uma criança crescer, e que Halley não seja o melhor exemplo. Contudo, não torcemos pela separação das duas. Pelo contrário, causa aflição. Pois sabemos que elas só têm uma à outra. E por um breve momento no final, ficamos torcendo que a visão inocente de Moonee seja a realidade. Porém infelizmente somos adultos, e a imagem que vemos não é mais a cobra engolida pelo elefante.

 Esse texto não é apenas sobre Moonee. É principalmente sobre: Halley. Apesar dela não concorrer ao troféu de mãe do ano. É praticamente impossível não simpatizar com a personagem, que de certa maneira tenta manter a inocência da filha. Já que a sua parece ter sido corrompida cedo demais, é curioso como ela age como uma adolescente rebelde que ainda é nova demais para viver os seus maus bocados. Digo isso, porque em certos momentos é questionável se ela compreende a gravidade dos seus atos e que por isso têm suas consequências.

American Honey (Andrea Arnold,2016):

   Star (Sasha Lane) mora em um ambiente extremamente hostil. Um pai que a abusa, e cria seus irmãos como filhos. Ao conhecer Jake(Shia Labouf), um homem que vê um potencial nela e a convida para se juntar  a trupe de circo/ciganos contemporâneos. Nada a prende para ficar. Ela aceita a proposta dele e vai vender assinaturas de revistas pelas estradas dos Estados Unidos. O que ela não contava era que houvesse outra pessoa na vida de Jake. Não em um tom de triângulo amoroso, que de princípio é o que parece para Star. A realidade é que sua chefe: Krystal (Riley Keough) só está interessada que eles façam dinheiro, portanto não é produtivo eles se apaixonarem.

  Diferente de Halley, vemos a razão de Star optar fugir de sua antiga realidade. No começo do filme vemos que suas raízes são tóxicas, e logo simpatizamos com a fuga. Star parece se encontrar com aquelas pessoas que a acompanham justamente pelo fato deles não parecerem pertencer a lugar algum.

  O primeiro contato entre ela, Jake e seu secto é no supermercado, e a trilha que toca de fundo é a popular música da cantora Rihanna “We found love in a hopeless place”. Música que faz com que ela realize que ainda há esperança. Naquele momento ela não é apenas seduzida pelo fato de um homem como Jake estar prestando atenção nela. Ela se encanta com aquelas pessoas estarem dançando e sendo que elas são, e não pedindo desculpas por isso. Terem cores em um lugar que é tão cinza.

 Em ambos os longas metragens vemos que os homens estão como coadjuvantes. Star e Halley tiveram problemas com seus pais, e isso faz com que eles não tenham confiabilidade para elas. Em The Florida Project, Halley e Moonee parecem ter sua dinâmica de relação como de irmãs. E Bobby seria a figura paterna mais próxima. Talvez esse personagem em nos dois filmes seja o mais próximo de um homem correto, arrisco a dizer até pessoa. Ele parece realmente se importar com as duas, e compreende a dimensão do quão ruim a vida delas é. Por outro lado em American Honey, o par romântico de Star;Jake de principio parece gostar muito dela. No segundo momento, já desvendamos que na realidade ele só seduzia para aliciar as pessoas para entrar no esquema de vendas. De fato, ele pode ser considerado o melhor vendedor da trupe. Além de ter seu inegável carisma, ele consegue convencer que fazer parte daquilo é ser parte de algo maior. Provavelmente, ele goste de Star. De tal maneira que vemos momentos que ele demonstra um ciúme possessivo, o que mostra o quão traumático foram os rastros que a relação com seu pai deixou nela(pelo seus gosto para par amoroso). Só que Jake não está disposto a admitir isso, porque sua lealdade é maior a Krystal. E também ele não gostaria de perder sua reputação de funcionário do mês.

 No filme de Andrea, um dos pontos que me encantou instantaneamente foi o uso da janela no formato 4:3. Road movies, normalmente são conhecidos pelas suas amplas imagens; em desertos, amantes em fuga e etc. Em American Honey, podemos ver de uma maneira mais introspectiva que o usual. Assim podemos nos concentrar, nos detalhes dos pequenos elementos e nos mais escondidos trejeitos dos personagens. Há também o irônico fato do filme desse gênero da geração millennials, ser no formato pela plataforma de compartilhamento de fotos mais utilizada pelos jovens: O Instagram. Apesar das figuras retratadas estarem longe de serem “Super Rich Kids” como a música de Frank Ocean. Há uma moça entre elas que se encaixa perfeitamente com a letra.

  Krystal é quem comanda o negócio. Sabemos que ela como Star é do Texas. São poucas coisas que sabemos sobre ela. Ela faz como a maioria dos chefes, cria uma certa distância entre ela e seus empregados. Gosta da hierarquia. Prova disso, é que enquanto os outros vão na minivan. Ela faz a viagem com seu conversível. Como dito, anteriormente não sabemos muito sobre ela. Porque não fica claro, se ela ganha dinheiro de outra maneira que seja as vendas das assinaturas de revistas. É muito fácil de ver que ela explora aqueles jovens, ficando com uma porcentagem injusta do dinheiro deles. De qualquer maneira, fica a dúvida de qual seja o seu trabalho B.

    A natureza é um dos importantes cenários para ambos filmes.Seja a árvore preferida de Moonee , com céu enfeitado por um belo arco íris. O lugar em que ela e seus amigos passam a maior parte do tempo. Seu particular Magic Kingdom. Ou Star que sempre está tentando salvar um inseto.

  Os traços de comportamento de alguns personagens pode ser comparado com de animais. Em The Florida Project, Halley ao saber que foi denunciada por sua amiga por se prostituir. Havendo a possibilidade de perder a guarda da filha. Vai até a casa da moça e lhe dá uma surra. Ao longo do filme, sabemos que Halley é uma pessoa inconseqüente.Todavia, não seriam todos os seres desta maneira quando se é para proteger a prole? Insensatos, irresponsáveis, imprudentes.Esse é o fator x, que faz da personagem um ser que aprendemos a gostar. A gana de proteger sua filha. Algo que todos podem se relacionar.

  Já em American Honey, há um procedimento muito parecido com o do mundo animal. Quando um dos integrantes da gangue faz a menor quantia de dinheiro, todos estão permitidos de lhe bater. E se esse mesmo membro por um certo tempo não produzir dinheiro, ele é expulso da trupe e deixado no meio da estrada. Não seria a principal lei da natureza que os sobreviventes são os melhores adaptados?

   Star interage com os animais/natureza de uma maneira extremamente pacífica.Esses são os momentos que a vemos mais serena, como na última cena do filme em que na água renasce. Talvez ela consiga sentir em paz, porque esse ambiente e esses seres não tentam a domar. Star em muitos momentos é vista como um bicho do mato. Uma menina muito diferentes das outras, que se destaca, uma verdadeira estrela. Na cena em que ela está contemplando a natureza, e aparece um urso;Podemos interpretar como um espelho. Ela se vê naquele animal. Usualmente, visto como agressivo.Porém no momento de solitude é manso.

  Os insetos são importantes elementos. São criaturas que ninguém quer por perto, que incomodam. As pessoas sempre querem dedetizar, eliminar esses animais. Assim como, o sistema gostaria de fazer com Halley e Star. Ou tentam. As ignorando.Não as retratando.